The tall office building artistically considered

7

The April Number

OF

LIPPINCOTT'S

MAGAZINE,

READY MARCH 2 3,

Will contain a Complete Novel entitled

FLOTSAM,

BY

OWEN HALL,

Author of "The Track of a Storm," etc.

And the Usual Variety of Stories, Essays,

Poems, etc.

For List of Complete Novels contained in Former Numbers, see Next Page.

THE COMPLETE NOVELS

WHICH HAVE ALREADY APPEARED IN

LIRRINCOTT'S MAGAZINE.

AND WHICH ARE ALWAYS OBTAINABLE, ARE:

No.

339. A Whim and a Chance . . William T. Nichols

338. Ground-Swells teannette il. Walworth

337. Mrs. Crichton's Creditor . . Mrs. Alexander
336. The Old Silver Trail . . . Mary B. Btickney
335. In Sight of the Goddess. Harriet Riddle Davis
334. My Strange Patient . . . William T. Nichols

333. A Case in Equity Francis Lyude

332. Little Lady Lee . . . Mrs. II. iJbvett Cameron
331. A Social Highwayman. Elisabeth Phipps Train
330. The Battle of Salamanca. Beuito Peres Gald&s
329. The Lady of Las Cruces . . . Christian Keid
328. Alain of Halfdene . . . Anna Robeson Brown
327. A Tame Surrender . . . Captain Charles King
326. The Chapel of Ease . . Harriet Riddle Davis
325. The Waifs of Fighting Hocks.

not tut-,, tt n , „ Charles Mcllvaine

324. Mrs. Hallam's Companion.

Mrs. Mary J. Holmes

323. Dora's Defiance Lady Lindsay

322. A Question of Courage . . . Francis Lynde

321. Captain Molly Mary A. Denison

320. Sweetheart Manette . . . Maurice Thompson

319. Captain Close Captain Charles King

318. The Wonder- Witch . . . . M. G. McClelland
317. A Professional Beauty. Elizabeth Phipps Train
316. The Plying Halcyon . . Richard Henry Savage

316. A Desert Claim Mary E. 8tickney

314. The Picture of Las Cruces . . Christian Reid

313. The Colonel Harry W.ll.ird French

312. Sergeant Croesus .... Captain Charles King
311. An Unsatisfactory Lover . . .TIieDaphis-
310. The Hepburn Line . . . Mrs. Man- J. Holmes
309. A Bachelor's Bridal. . . . H. Lovett Cameron
308. In the Midst of Alarms .... Kuben Ban-
307. The Troublesome Lady . Patience Stapleton
306. The Translation of a Savage. Gilbert Parker

305. Mrs. Romney Rosa EToueliette Carey

304. Columbus in Love . . George Alfred Townsend
303. Waring's Peril . . . Capt. Charles King, P.8.A

302. The First Flight Julien Gordon

A Pacific Encounter . . . Mary E. SticUney
Pearce Amerson's Will.

Richard Malcolm Johnston

More than Kin Marion Hariand

The Kiss Of Gold Kate Jordan |

The Doomswoman Gertrude Atherton

296. The Martlet Seal. . . . Jeannette H.Walworth

295. White Heron M. G. McClelland

294. John Gray (A Kentucky Tale of the Olden Time).

.l.iin. s Lane Allen
293. The Golden Fleece .... Julian Hawthorne
292. But Men Must Work . Rosa Nouchette Carey
291. A Soldier's Secret . Capt. Charles King,

290. Roy the Royalist William Westall

289. The Passing of Major Kilgore.

Young E. Allison
288. A Fair Blockade-Breaker . . T. C. DeLeon
287. The Duke and the Commoner.

Mrs. Poultney Bijrelow

286. Lady Patty The Duchess

285. Cariotta's Intended . . Ruth McEnery Stuart

301.
300.

299.
298.
297.

278.
277.
276.
276.
274.

270.
269.
268.
267.
266.
265.

Ho.

284. A Daughter's Heart . Mrs. H. Lovett Cameron
283. A Rose of a Hundred Leaves. Amelia E, Ban
282. Gold of Pleasure . . . Geoi Lathrop

281. Vampires Julien Gordon

280. Maiden's Choosing. . . Mrs. Ellen Olney Kirk
B. The Sound of a Voice . . Frederick S.Cowsens

A Wave of Life Clyde Fitch

The Light that Failed . . Rudyard Kipling
An Army Portia . Capt. Charles King, U.S.A.
A Laggard in Love . Jeauie Gwynne Bettany

A Marriage at Sea W. Clank Russell

273. The Mark of the Beast.

Katharine Pearson Woods
272. What Gold Cannot Buy . . Mrs. Alexander
271. The Picture of Dorian Gray . . Oscar Wilde
Circumstantial Evidence . Mary E. Stickney
A Sappho of Green Springs . . . Bret Harte

A Cast for Fortune Christian Reid

Two Soldiers .... Capt Charles King, U.S.A
The Sign of the Four .... a Conan Doyle
Mllhcent and Rosalind . . Julian Hawthorne

9« t ^^ Kn6W JO'"' Ha''1*rt-

^bj. A Belated Revenge. Dr. Robt. Montgomery Bird

262. Creole and Puritan T. C. De Leon

2C1. Solarion Edgar Fawcett

260. An Invention of the Enemy. W.H Babcock
259. Ten Minutes to Twelve . M. G. McClelland
258. A Dream of Conquest . . General Lh.vd Brice
257. A Chain of Errors .... Mrs. E. W. Latimer
256. The Witness of the Sun . . . Amelie Rives

255. Bella-Demonia Selina Doltiro

254. A Transaction in Hearts . . . . Edgar Saltus

253. Hale-Weston M. B1„ot geawe„

251. Earthlings Grace King

250. Queen of Spades, and Autobiography. E. P. Koe
249. Herod and Mariamne.

A Tr«gedy Am61ie Riveg

248. Mammon Maude Howe

247. The Yellow Snake Wm. Henry Bishop

246. Beautiful Mrs. Thorndyke.

Mrs. Poultney Bigelow

245. The Old Adam H. H. Bovesen

244. The Quick or the Dead P . . . Amelie Rives
243. Honored in the Breach . . . Julia Magruder
242. The Spell of Home.

After the German of E. Werner. Mrs. A. L. Wister
241. Check and Counter-Check.

Brander Matthews and George H. Jessop
239. The Terra-Cotta Bust . . Virginia W. Johnson
238. Apple Seed and Brier Thorn. Louise Stockton
237. The Red Mountain Mines. Lew Vauderpoole

236. A Land of Love Sidney Luska

235. At Anchor Juiia Magruder

234. The Whistling Buoy .... Charles Baruard

232. Douglas Dnane Edgar Fawcett

231. Kenyon's Wife Lucy C. Lillie

230. A Self-Made Man M. G. McClelland

229. Sinflre Julian Hawthorne

228. Miss Defarge .... Frances Hodgson Burnett
227. Brueton'a Bayou John Habberton

SINGLE NUMBERS, 25 CENTS.

b

$3.00 PER YEAR.

THIS NUMBER CONTAINS

A WHIM AND A CHANCE

By WILLIAM T. NICHOLS,

AUTHOR OR " MY STRANGE PATIENT," ETC.

COMPLiBTB

MONTHLY MAGAZINE

CONTENTS

A WHIM AND A CHANCE . . . William T.Nichols . 289-378

The Horse or the Motor Oliver McKee

Mis' Pettigrew's Silver Tea-Set Judith Spencer . ,

The Pilgrims (Poem) Clinton Scollard .

Household Life in Another Century .... Emily Baily Stone

Henry Mary Stewart Cutting .

Richard Wagner (Quatrain) Richard Burton .

The Tall Office Building Artistically Considered . Louis H. Sullivan

The Evolution of the Wedding-Cake . . . Agnes Carr Sage .

About Widows Frances Courtenay Baylor

Alas ! (Couplet) Carrie Blake Morgan .

A Labor Leader Clare E. Robie .

A Little Essay on Love Jean Wright

The Decadent Novel Edward Fuller .

379
384
389
39°
395
402

403

409
412
414

415
422

427

PRICE TWENTY-FIVE CENTS

PUBLISHED BY

J:B:LIPPINCOTT:C2: PHILADELPHIA:

LONDON: 10 HENRIETTA STREET, COVENT GARDEN.

PARIS: BRENTANO'S, 87 AVENUE BE I/OPERA
Copyright, 1896, by J. B. Lippincott Company. Entered at Philadelphia Post-Office as second-class matter.

402 RICHARD WAGNER.

made the minister stay to supper, but he didn't look quite easy,
and left right afterwards. Aunt Martha said she thought he had a
toothache.

And we danced — oh, how we danced ! Josh and I were partners
all the time, and the way that cornet played, with the concertina chiming
in ! All who couldn't dance beat time with their feet.

It was nearly four o'clock in the morning before every one left, and
Josh and I walked down to take the milk-train for Jersey City. My
blue duck suit was all covered with rice, and an old shoe had knocked
Josh's hat off, so that 'twas a little dusty, but he didn't mind. Josh
carried our two valises, and my feet felt as light as a feather, they were
so in tune with the dancing, and the day was just dawning over the
salt meadows, all fresh and sweet, and the birds were beginning to
sing.

I was so happy, without trying to think why, that I could hardly
keep from little bubbles of laughter, and Josh looked at me, and said
I matched the morning.

" But why are we going to Jersey City ?" said he, stopping sud-
denly, and letting the valises rest on the ground.

" Why," said I, " so we can go and see the Falls, and your — no,
Henry's married sister, at Paterson."

" What /" says he, as mad as thunder, and then he burst into a roar
of laughter. " If that ain't the best I ever heard ! Annie Louise, we
ain't runuing on Henry's plan now. We'll keep on over the ferry,
sweety, to New York. I've a week's vacation, and lots of money in
my pocket, and my girl shall have a bang-up wedding trip. We'll go
straight on to a real falls, and that's Niagary."

The milk-train was rumbling in before we reached the station, and
we got aboard just in time. But while we still stood on the platform
of the car, and it was moving off, two figures came running up, too
late to get on.

It was Henry, and Mrs. Hunter ! They stopped short and looked
at us, and Josh he put one arm around my waist, and pointed with his
other hand to Henry, — such a gesture, as if he were the meanest thing
on earth, — and he called him a name, the sassiest I ever heard.

Henrv slunk all together, the way he used to when he had a cramp,
and then in a second he was lost to sight. It was the last I ever saw
of Henry, or ever want to.

Mary Stewart Catting.

RICHARD WAGNER.

OLD deeds, old creeds, for centuries dead, rise out
The grave and swarm beside the storied Rhine :
The thunders of the heaven are girt about
With silver zones of melody divine.

Richard Burton.

THE TALL OFFICE BUILDING ARTISTICALLY CONSIDERED. 403

THE TALL OFFICE BUILDING ARTISTICALLY
CONSIDERED.

THE architects of this land aud generation are now brought face to
face with something new under the sun, — namely, that evolution
and integration of social conditions, that special grouping of them, that
results in a demand for the erection of tall office buildings.

It is not my purpose to discuss the social conditions ; I accept them
as the fact, and say at once that the design of the tall office building
must be recognized and confronted at the outset as a problem to be
solved, — a vital problem, pressing for a true solution.

Let us state the conditions in the plainest manner. Briefly, they
are these : offices are necessary for the transaction of business ; the
invention and perfection of the high-speed elevator make vertical
travel, that was once tedious and painful, now easy and comfortable ;
development of steel manufactures has shown the way to safe, rigid,
economical constructions rising to a great height; continued growth
of population in the great cities, consequent congestion of centres and
rise in value of ground, stimulate an increase in number of stories;
these, successfully piled one upon another, react on ground values ; — and
so on, by action and reaction, interaction and inter-reaction. Thus has
come about that form of lofty construction called the " modern office
building." It has come in answer to a call, for in it a new grouping
of social conditions has found a habitation and a name.

Up to this point all in evidence is materialistic, an exhibition of
force, of resolution, of brains in the keen sharp sense of the word. It
is the joint product of the speculator, the engineer, the builder.

Problem : How shall we impart to this sterile pile, this crude, harsh,
brutal agglomeration, this stark, staring exclamation of eternal strife,
the graciousness of those higher forms of sensibility and culture that
rest on the lower and fiercer passions ? How shall we proclaim from
the dizzy height of this strange, weird, modern housetop the peaceful
evangel of sentiment, of beauty, the cult of a higher life?

This is the problem ; and we must seek the solution of it in a
process analogous to its own evolution, — indeed, a continuation of it, —
namely, by proceeding step by step from general to special aspects,
from coarser to finer considerations.

It is my belief that it is of the very essence of every problem that
it contains and suggests its own solution. This I believe to be natural
law. Let us examine, then, carefully the elements, let us search out
this contained suggestion, this essence of the problem.

The practical conditions are, broadly speaking, these :

Wanted — 1st, a story below-ground, containing boilers, engines, of
various sorts, etc., — in short, the plant for power, heating, lighting, etc.
2d, a ground-floor, so called, devoted to stores, banks, or other estab-
lishments requiring large area, ample spacing, ample light, and great

404 THE TALL OFFICE BUILDING ARTISTICALLY CONSIDERED.

freedom of access. 3d, a second story readily accessible by stairways, —
this space usually in large subdivisions, with corresponding liberality
in structural spacing and in expanse of glass and breadth of external
openings. 4th, above this an indefinite number of stories of offices
piled tier upon tier, one tier just like another tier, one office just like
all the other offices, — an office being similar to a cell in a houey-comb,
merely a compartment, nothing more. 5th and last, at the top of this
pile is placed a space or a story that, as related to the life and useful-
ness of the structure, is purely physiological in its nature, — namely,
the attic. In this the circulatory system completes itself and makes
its grand turn, ascending and descending. The space is filled with
tanks, pipes, valves, sheaves, and mechanical etcetera that supplement
and complement the force-originating plant hidden below-ground in
the cellar. Finally, or at the beginning rather, there must be on the
ground-floor a main aperture or entrance common to all the occupants
or patrons of the building.

This tabulation is, in the main, characteristic of every tall office
building in the country. As to the necessary arrangements for light
courts, these are not germane to the problem, and, as will become soon
evident, I trust, need not be considered here. These things, and such
others as the arrangement of elevators, for example, have to do strictly
with the economics of the building, and I assume them to have been
fully considered and disposed of to the satisfaction of purely utilitarian
and pecuniary demands. Only in rare instances does the plan or floor
arrangement of the tall office building take on an aesthetic value, and
this usually when the lighting court is external or becomes an internal
feature of great importance.

As I am here seeking not for an individual or special solution, but
for a true normal type, the attention must be confined to those condi-
tions that, in the main, are constant in all tall office buildings, and
every mere incidental and accidental variation eliminated from the
consideration, as harmful to the clearness of the main inquiry.

The practical horizontal and vertical division or office unit is nat-
urally based on a room of comfortable area and height, and the size
. of this standard office room as naturally predetermines the standard
structural unit, and, approximately, the size of window-openings. In
turn, these purely arbitrary units of structure form in an equally
natural way the true basis of the artistic development of the exterior.
Of course the structural spacings and openings in the first or mercan-
tile storv are required to be the largest of all ; those in the second or
quasi-mercantile story are of a somewhat similar nature. The spacings
and openings in the attic are of no importance whatsoever (the win-
dows have no actual value), for light may be taken from the top,
and no recognition of a cellular division is necessary in the structural
spacing.

Hence it follows inevitably, and in the simplest possible way, that
if we follow our natural instincts without thought of books, rules, pre-
cedents, or any such educational impedimenta to a spontaneous and
"sensible" result, we will in the following manner design the exterior
of our tall office building, — to wit :

THE TALL OFFICE BUILDING ARTISTICALLY CONSIDERED. 405

Beginning with the first story, we give this a main entrance that
attracts the eye to its location, and the remainder of the story we treat
in a more or less liberal, expansive, sumptuous way, — a way based
exactly on the practical necessities, but expressed with a sentiment of
largeness and freedom. The second story we treat in a similar way,
but usually with milder pretension. Above this, throughout the in-
definite number of typical office-tiers, we take our cue from the indi-
vidual cell, which requires a window with its separating pier, its sill
and lintel, and we, without more ado, make them look all alike because
they are all alike. This brings us to the attic, which, having no
division into office-cells, and no special requirement for lighting, gives
us the power to show by means of its broad expanse of wall, and its
dominating weight and character, that which is the fact, — namely, that
the series of office-tiers has come definitely to an end.

This may perhaps seem a bald result and a heartless, pessimistic
way of stating it, but even so we certainly have advanced a most
characteristic stage beyond the imagined sinister building of the specu-
lator-engineer-builder combination. For the hand of the architect is
now definitely felt in the decisive position at once taken, and the sug-
gestion of a thoroughly sound, logical, coherent expression of the con-
ditions is becoming apparent.

When I say the hand of the architect, I do not mean necessarily
the accomplished and trained architect. I mean only a man with a
strong natural liking for buildings, and a disposition to shape them in
what seems to his unaffected nature a direct and simple way. He will
probably tread an innocent path from his problem to its solution, and
therein he will show an enviable gift of logic. If he have some gift
for form in detail, some feeling for form purely and simply as form,
some love for that, his result, in addition to its simple straightforward
naturalness and completeness in general statement, will have some-
thing of the charm of sentiment.

However, thus far the results are only partial and tentative at
best ; relatively true, they are but superficial. We are doubtless right
in our instinct, but we must seek a fuller justification, a finer sanction,
for it.

II.

I assume now that in the study of our problem we have passed
through the various stages of inquiry, as follows : 1st, the social basis
of the demand for tall office buildings ; 2d, its literal material satis-
faction ; 3d, elevation of the question from considerations of literal
planning, construction, and equipment, to the plane of elementary
architecture as a direct outgrowth of sound, sensible building; 4th,
the question again elevated from an elementary architecture to the
beginnings of true architectural expression, through the addition of a
certain quality and quantity of sentiment.

But our building may have all these in a considerable degree
and yet be far from that adequate solution of the problem I am at-
tempting to define. We must now heed the imperative voice of emo-
tion.

406 THE TALL OFFICE BUILDING ARTISTICALLY CONSIDERED.

It demands of us, What is the chief characteristic of the tall office
building? And at once we answer, it is lofty. This loftiness is to
the artist-nature its thrilling aspect. It is the very open organ-tone in
its appeal. It must be in turn the dominant chord in his expression
of it, the true excitant of his imagination. It must be tall, every
inch of it tall. The force and power of altitude must be in it, the
glory and pride of exaltation must be in it. It must be every inch a
proud and soaring thing, rising in sheer exultation that from bottom
to top it is a unit without a single dissenting line, — that it is the new,
the unexpected, the eloquent peroration of most bald, most sinister,
most forbidding conditions.

The man who designs in this spirit and with this sense of respon-
sibility to the generation he lives in must be no coward, no denier, no
bookworm, no dilettante. He must live of his life and for his life in
the fullest, most consummate sense. He must realize at once and with
the grasp of inspiration that the problem of the tall office building is
one of the most stupendous, one of the most magnificent opportunities
that the Lord of Nature in His beneficence has ever offered to the
proud spirit of man.

That this has not been perceived — indeed, has been flatly denied —
is an exhibition of human perversity that must give us pause.

III.

One more consideration. Let us now lift this question into the
region of calm, philosophic observation. Let us seek a comprehensive,
a final solution : let the problem indeed dissolve.

Certain critics, and very thoughtful ones, have advanced the theory
that the true prototype of the tall office building is the classical column,
consisting of base, shaft, and capital, — the moulded base of the column
typical of the lower stories of our building, the plain or fluted shaft
suggesting the monotonous uninterrupted series of office-tiers, and the
capital the completing power and luxuriance of the attic.

Other theorizers, assuming a mystical symbolism as a guide, quote
the many trinities in nature and in art, and the beauty and conclusive-
ness of such trinity in unity. They aver the beauty of prime numbers,
the mysticism of the number three, the beauty of all things that are
in three parts, — to wit, the day, subdividing into morning, noon, and
night; the limbs, the thorax, and the head, constituting the body. So,
they say, should the building be in three parts vertically, substantially
as before, but for different motives.

Others, of purely intellectual temperament, hold that such a de-
sign should be in the nature of a logical statement ; it should have
a beginning, a middle, and an ending, each clearly defined, — therefore
again a building, as above, in three parts vertically.

Others, seeking their examples and justification in the vegetable
kingdom, urge that such a design shall above all things be organic.
They quote the suitable flower with its bunch of leaves at the earth,
its long graceful stem, carrying the gorgeous single flower. They
point to the pine-tree, — its massy roots, its lithe, uninterrupted trunk,

THE TALL OFFICE BUILDING ARTISTICALLY CONSIDERED. 4Q7

its tuft of green high iu the air. Thus, they say, should be tiie design
of the tall office building: again in three parts vertically.

Others still, more susceptible to the power of a unit than to the
grace of a trinity, say that such a design should be struck out at a
blow, as though by a blacksmith or by mighty Jove, or should be
thought-born, as was Minerva, full-grown. They accept the notion of
a triple division as permissible and welcome, but non-essential. With
them it is a subdivision of their unit : the unit does not come from
the alliance of the three ; they accept it without murmur, provided the
subdivision does not disturb the sense of singleness and repose.

All of these critics aud theorists agree, however, positively, un-
equivocally, in this, that the tall office building should not, must not,
be made a field for the display of architectural knowledge in the en-
cyclopaedic sense ; that too much learning in this instance is fully as
dangerous, as obnoxious, as too little learning ; that miscellany is ab-
horrent to their sense; that the sixteen-story building must not consist
of sixteen separate, distinct, and unrelated buildings piled one upon
the other until the top of the pile is reached.

To this latter folly I would not refer were it not the fact that nine
out of every ten tall office buildings are designed in precisely this way
in effect, not by the ignorant, but by the educated. It would seem,
indeed, as though the " trained" architect, when facing this problem,
were beset at every story, or, at most, every third or fourth story, by
the hysterical dread lest he be in " bad form ;" lest he be not bedeck-
ing his building with sufficiency of quotation from this, that, or the
other " correct" building in some other land and some other time ;
lest he be not copious enough in his display of wares ; lest he betray,
in short, a lack of resource. To loosen up the touch of this cramped
and fidgety hand, to allow the nerves to calm, the brain to cool, to re-
flect equably, to reason naturally, seems beyond him ; he lives, as it
were, in a waking nightmare filled with the disjecta membra of archi-
tecture. The spectacle is not inspiriting.

As to the former and serious views held by discerning and thought-
ful critics, I shall, with however much of regret, dissent from them
for the purposes of this demonstration, for I regard them as secondary
only, non-essential, and as touching not at all upon the vital spot, upon
the quick of the entire matter, upon the true, the immovable philosophy
of the architectural art.

This view let me now state, for it brings to the solution of the
problem a final, comprehensive formula :

All things in nature have a shape, that is to say, a form, an out-
ward semblance, that tells us what they are, that distinguishes them
from ourselves and from each other.

Unfailingly in nature these shapes express the inner life, the native
quality, of the animal, tree, bird, fish, that they present to us; they
are so characteristic, so recognizable, that we say, simply, it is " natu-
ral" it should be so. Yet the moment we peer beneath this surface
of things, the moment we look through the tranquil reflection of our-
selves and the clouds above us, down into the clear, fluent, unfathom-
able depths of nature, how startling is the silence of it, how amazing

408 THE TALL OFFICE BUILDING ARTISTICALLY CONSIDERED.

the flow of life, how absorbing the mystery ! Unceasingly the essence
of things is taking shape in the matter of things, and this unspeakable
process we call birth and growth. Awhile the spirit and the matter
fade away together, and it is this that we call decadence, death. These
two happenings seem joined and interdependent, blended into one like
a bubble and its iridescence, and they seem borne along upon a slowly
moving air. This air is wonderful past all understanding.

Yet to the steadfast eye of one standing upon the shore of things,
looking chiefly and most lovingly upon that side on which the sun
shines and that we feel joyously to be life, the heart is ever gladdened
by the beauty, the exquisite spontaneity, with which life seeks and
takes on its forms in an accord perfectly responsive to its needs. It
seems ever as though the life and the form were absolutely one and in-
separable, so adequate is the sense of fulfilment.

Whether it be the sweeping eagle in his flight, or the open apple-
blossom, the toiling work-horse, the blithe swan, the branching oak,
the winding stream at its base, the drifting clouds, over all the coursing
nun, form ever follows function, and this is the law. Where function
does not change, form does not change. The granite rocks, the ever-
brooding hills, remain for ages ; the lightning lives, comes into shape,
and dies, in a twinkling.

It is the pervading law of all things organic and inorganic, of all
things physical and metaphysical, of all things human and all things
superhuman, of all true manifestations of the head, of the heart, of
the soul, that the life is recognizable in its expression, that form ever
follows function. This is the law.

Shall we, then, daily violate this law in our art? Are we so de-
cadent, so imbecile, so utterly weak of eyesight, that we cannot per-
ceive this truth so simple, so very simple? Is it indeed a truth so
transparent that we see through it but do not see it? Is it really,
then, a very marvellous thing, or is it rather so commonplace, so every-
day, so near a thing to us, that we cannot perceive that the shape, form,
outward expression, design, or whatever we may choose, of the tall
office building should in the very nature of things follow the functions
of the building, and that where the function does not change, the form
is not to change ?

Does not this readily, clearly, and conclusively show that the lower
one or two stories will take on a special character suited to the special
needs, that the tiers of typical offices, having the same unchanging
function, shall continue in the same unchanging form, and that as to
the attic, specific and conclusive as it is in its very nature, its function
shall equally be so in force, in significance, in continuity, in conclusive-
ness of outward expression ? From this results, naturally, spontane-
ously, unwittingly, a three-part division, — not from any theory, symbol,
or fancied logic.

And thus the design of the tall office building takes its place with
all other architectural types made when architecture, as has happened
once in many years, was a living art. Witness the Greek temple, the
Gothic cathedral, the medieval fortress.

And thus, when native instinct and sensibility shall govern the

THE EVOLUTION OF THE WEDDING-CAKE. 409

exercise of our beloved art ; when the known law, the respected law,
shall be that form ever follows function ; when our architects shall
cease strutting and prattling handcuffed and vainglorious in the asylum
of a foreign school ; when it is truly felt, cheerfully accepted, that this
law opens up the airy sunshine of green fields, and gives to us a free-
dom that the very beauty and sumptuousness of the outworking of
the law itself as exhibited in nature will deter any sane, any sensitive
man from changing into license ; when it becomes evident that we
are merely speaking a foreign language with a noticeable American
accent, whereas each and every architect in the land might, under
the benign influence of this law, express in the simplest, most modest,
most natural way that which it is in him to say : that he might really
and would surely develop his own characteristic individuality, and
that the architectural art with him would certainly become a living
form of speech, a natural form of utterance, giving surcease to him
and adding treasures small and great to the growing art of his land ;
when we know and feel that Nature is our friend, not our implaca-
ble enemy, — that an afternoon in the country, an hour by the sea, a
full open view of one single day, through dawn, high noon, and
twilight, will suggest to us so much that is rhythmical, deep, and eter-
nal in the vast art of architecture, something so deep, so true, that all
the narrow formalities, hard-and-fast rules, and strangling bonds of
the schools cannot stifle it in us, — then it may be proclaimed that we
are on the high-road to a natural and satisfying art, an architecture
that will soon become a fine art in the true, the best sense of the word,
an art that will live because it will be of the people, for the people,
and by the people.

Louis H. Sullivan.

THE EVOLUTION OF THE WEDDING-CAKE.

WHEN in ancient and imperial Rome a maiden was wedded ac-
cording to confarreatio, she always carried three ears of wheat
in her hand, while over her head was broken a simple cake of far and
mola salsa as a presage of plenty and an ample abundance of the good
things of life.

In this primitive custom we see the germ from which grew the
elaborate plum loaves and daintily beribboned boxes of luscious rich-
ness that form so conspicuous a feature of our marriage-feasts to-day.

The bridal wreath of an Early English bride was likewise fashioned
of bearded (and sometimes gilded) wheaten spikes, while, on her re-
turn from church, corn and other cereals were showered upon her and
then carefully gathered up and consumed by the wedding guests. In
this, also, we recognize a rude ancestor of a modern fashion, that of
sending a newly married pair off in a small blizzard of hard, snowy
rice.

In the course of time, however, the golden grain was ground and

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